Hi everyone! As some of you may know, pulp has undergone some management changes over the past few months and has been tirelessly working on a newer, and better, pulp. On September 6th at 5:30pm, the pulp team will be hosting a launch party in […]
Issue #10 is on news stands across all KPU campuses and features: Pulp Interviews with Jonina Kirton & Nicola Harwood Visual Art by Amy Duval, Bianca Hartle, Shannon McFarlane, Natalie Mussel, Shandis Harrison, Annabel Chu, & Alyx Essers Poetry by Chantal Houle, Justine Limvalencia, Carol […]
Literary Editor Carissa Kasper sat down with Talonbooks author Jónína Kirton for an in-depth discussion about culture, place, and the healing power of poetry.
“Poetry has changed me, opening creative ways for me to express what I feel and think in exciting and creative ways. It offers me a way to explore my thoughts and feelings on a wide variety of topics. When I began, I had hoped to be a modern day mystic, a female Rumi, but I kept going in another direction, a much darker direction than I had planned, but the deeper I went into this underworld, the more I saw the power of words and how speaking of the difficult things offers healing.”
Read the entire interview here.
New this week is a book review of the debut poetry collection by Niki Koulouris, The sea with no one in it, from Ontario small press, The Porcupine’s Quill. Niki Koulouris was born in Melbourne, Australia, and is a graduate of the University of Melbourne […]
Fire season is here again in British Columbia. With temperatures rising and summer just around the corner, we are reminded of poet Jonathan Pankratz’s work about his experience as a forest fire fighter, poems that are as unique as they are haunting. From, “Wildfire on […]
Back in November 2014, Zsuzsi Gartner appeared at KPU as a part of the “Women Writers: How Do They Work” panel. Pulp Managing Editor Stephanie Peters got to ask her a few great questions like this one:
I’m struck by the use of reoccurring motifs in your stories. I was delighted every time I came across terry cloth shorts in Better Living Through Plastic Explosives. Do you deliberately make these distinctive images reappear to give cohesion to a collection of stories, or is there a different motive?
You’ve identified one of the idiot-savant-ish aspects of my writing. Certain things are deliberate, such as the Biblical motifs, while other things, like the terry cloth shorts are a result of just too much stuff jostling about in my brain that it ends up as flotsam rather than jetsam. I guess in the case of the too-short terry cloth shorts they’re a kind of shorthand for a certain kind of gal—sassy, ballsy, and somewhat tacky. When I combed through the page proof of both my books, I was shocked and pleased by the recurring motifs that seemed to hang together. And in both books there’s the sudden violence and explosions—I was more aware of this while writing Better Living than Anxious Girls.
Read the full interview here.